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NORTHWESTERN UNIVERSITY the Galant in the Hammerklavier a RESEARCH DOCUMENT SUBMITTED to the BIENEN SCHOOL of MUSIC in PARTIAL F

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NORTHWESTERN UNIVERSITY the Galant in the Hammerklavier a RESEARCH DOCUMENT SUBMITTED to the BIENEN SCHOOL of MUSIC in PARTIAL F NORTHWESTERN UNIVERSITY The Galant in the Hammerklavier A RESEARCH DOCUMENT SUBMITTED TO THE BIENEN SCHOOL OF MUSIC IN PARTIAL FULFILLMENT OF THE REQUIREMENTS for the degree DOCTOR OF MUSIC Program of Piano Performance By Sergiy Sergiyovych Komirenko EVANSTON, ILLINOIS Month 2014 2 © Copyright by Sergiy Sergiyovych Komirenko 2014 All Rights Reserved 3 ABSTRACT The Galant in the Hammerklavier Sergiy Sergiyovych Komirenko Beethoven’s late compositional style is known for bending conventions he learned as a young man. Many discussions of his late style concentrate on adherence to and deviations from the conventions of functional harmony, fugal techniques, and sonata form. This document sheds light on an additional, previously unexamined aspect of Beethoven’s compositional process: his use of Galant schemata. These schematic patterns were catalogued and described by Robert Gjerdingen in his book Music in the Galant Style. For earlier 18th century composers, schematic constructs were a necessary time-saving tool which allowed composers to keep up with enormous demand on their output. While Beethoven faced different market conditions from his predecessors, and while his music embodied early iterations of nascent musical Romanticism, Beethoven nonetheless inherited the language of the Galant style and its building blocks. This study presents a detailed analysis of the way Beethoven deployed and subverted these schematic patterns in the Hammerklavier piano Sonata. The analysis leads to the conclusion that these schemata, far from chaining the composer’s creative impulses, were indeed a handy tool which he could employ in accordance with his contextual needs. Moreover, by analyzing how Beethoven integrates Galant schemata throughout the Hammerklavier, this document shows that the presence of seemingly outdated patterns in a self-consciously esoteric and romantically sublime piano Sonata underscores a synergy, not an opposition, between the old Galant and the new Romantic idioms in Beethoven’s late compositional style. 4 Table of Contents The Galant in the Hammerklavier ......................................................................................................... 7 Historical Background ................................................................................................................................... 7 Format ......................................................................................................................................................... 11 Purpose and Contribution ........................................................................................................................... 12 Analysis ....................................................................................................................................................... 14 Allegro ..................................................................................................................................................... 14 Scherzo, Assai vivace ............................................................................................................................... 52 Adagio sostenuto. Appassionato e con molto sentimento. .................................................................... 57 Largo – Allegro – Allegro risoluto. Fuga a tre voci con alcune licenze .................................................... 66 Epilogue and Conclusion ............................................................................................................................. 89 Bibliography ................................................................................................................................................ 93 5 List of Examples Example 1, Beethoven, Hammerklavier, opening of first movement _____________________________________ 15 Example 2, Beethoven, Symphony No. 5, opening of first movement _____________________________________ 15 Example 3, N. Piccinni, "Dov'e Cecchina" from La buona figliuola, mm. 9-12 ______________________________ 16 Example 4, Do-Re-Mi Prototype __________________________________________________________________ 16 Example 5, The "Do-Re-Mi" Schema in the opening of the Hammerklavier ________________________________ 17 Example 6, Meyer Prototype _____________________________________________________________________ 18 Example 7, Pastorella Prototype __________________________________________________________________ 19 Example 8, Hammerklavier, I, mm. 4-6 ____________________________________________________________ 19 Example 9, Monte Romanesca Prototype __________________________________________________________ 20 Example 10, Hammerklavier, I, mm. 4-6 ___________________________________________________________ 20 Example 11, Hammerklavier, I, mm. 230-232 _______________________________________________________ 21 Example 12, Fonte Prototype ____________________________________________________________________ 22 Example 13, Hammerklavier, I, mm. 6-8 ___________________________________________________________ 22 Example 14, Hammerklavier, I, mm. 6-8, hypothetically rewritten _______________________________________ 23 Example 15, Hammerklavier, I, mm. 8-17 __________________________________________________________ 24 Example 16, Hammerklavier, I, mm. 17-26 _________________________________________________________ 25 Example 17, Hypothetical Monte _________________________________________________________________ 26 Example 18, Hammerklavier, I, mm. 31-34 _________________________________________________________ 26 Example 19, Hammerklavier, I, mm. 38-45 _________________________________________________________ 27 Example 20, Hammerklavier, I, m. 74 ______________________________________________________________ 28 Example 21, Hammerklavier, I, m. 306 _____________________________________________________________ 29 Example 22, Hammerklavier, I, mm. 85-91 _________________________________________________________ 29 Example 23, Fenaroli Prototype __________________________________________________________________ 31 Example 24, Hammerklavier, I, mm. 100-109 _______________________________________________________ 31 Example 25, Hammerklavier, I, mm. 201-204 _______________________________________________________ 32 Example 26, Hammerklavier, I, mm. 332-341 _______________________________________________________ 33 Example 27, Hammerklavier, I, mm. 362-369 _______________________________________________________ 33 Example 28, Hammerklavier, I, mm. 120-124, first ending _____________________________________________ 35 Example 29, Hammerklavier, I, mm. 120-123, second ending___________________________________________ 35 Example 30, Folia Ground Bass ___________________________________________________________________ 36 Example 31, Hammerklavier, I, mm. 124-131 _______________________________________________________ 36 Example 32, Hammerklavier, I, mm. 176-190 _______________________________________________________ 37 Example 33, Monte Principale Prototype ___________________________________________________________ 38 Example 34, Hammerklavier, I, mm. 137-141 _______________________________________________________ 38 Example 35, Hammerklavier, I, mm. 147-152 _______________________________________________________ 38 Example 36, Hammerklavier, I, mm. 155-176 _______________________________________________________ 40 Example 37, Hammerklavier, I, mm. 197-201 _______________________________________________________ 41 Example 38, Hammerklavier, I, mm. 232-234 _______________________________________________________ 42 Example 39, Hammerklavier, I, mm. 239-241 _______________________________________________________ 42 Example 40, Hammerklavier, I, mm. 249-257 _______________________________________________________ 45 Example 41, Hammerklavier, I, mm. 263-266 _______________________________________________________ 45 Example 42, Hammerklavier, I, mm. 268-277 _______________________________________________________ 46 6 Example 43, Hammerklavier, I, mm. 350-358 _______________________________________________________ 47 Example 44, Hammerklavier, I, mm. 377--382 _______________________________________________________ 48 Example 45, Hammerklavier, I, mm. 212-220 _______________________________________________________ 49 Example 46, Hammerklavier, I, mm. 220-227 _______________________________________________________ 50 Example 47, Beethoven, Symphony No. 4, I, mm. 275-307, Piano reduction by Franz Liszt ____________________ 51 Example 48, Beethoven, Symphony No. 4, I, mm. 331-335, Piano reduction by F. Liszt _______________________ 51 Example 49, Stepwise Bass Romanesca Prototype ___________________________________________________ 53 Example 50, Hammerklavier, II, mm. 1-3 ___________________________________________________________ 53 Example 51, Hammerklavier, II, mm. 14-18 _________________________________________________________ 54 Example 52, Hypothetical Fonte __________________________________________________________________ 55 Example 53, Hammerklavier, II, mm. 26-30 _________________________________________________________ 56 Example 54, Hammerklavier, II, m. 112 (partial) _____________________________________________________ 57 Example 55, Hammerklavier, III, mm. 36-38 ________________________________________________________ 58 Example 56, Hammerklavier, III, mm. 39-40 ________________________________________________________ 59 Example 57, Prinner Prototype ___________________________________________________________________ 59 Example 58, Hammerklavier, III, mm. 44-45
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